CFP: Domitor Student Essay Award/Prix de l’essai étudiant Domitor
2023 Student Essay Award
The Domitor Student Essay Award is an annual competition designed to stimulate interest in the field of early cinema studies, to involve young scholars and archivists in the activities of our organization, and to reduce the gap between established and emerging generations of scholars and archivists of early cinema. It is crucial for the future of early cinema studies that young historians, theorists, and archivists present their work and enter into discussion with current scholars and scholarship.
Although we imagine the general time frame for the period covered by the essays to be the late 1880s to 1915, we realize that cinema developed unevenly across the global stage. For that reason, submissions treating cinema after 1915 in countries where early cinema practices postdate the proposed time frame will be given full consideration. Similarly, essays that examine the history and/or current status of early cinema’s place in historiography, theory, or the archive are also welcomed.
Submissions may be written in either French or English and should not exceed 7,000 words. All entrants must be enrolled in an undergraduate or graduate program at the time of submission, or have received a degree no earlier than January 2023. Essays prepared by students to fulfill course requirements may be submitted. An essay will not be accepted, however, if it has been previously published or issued in any form of general distribution. Each student may enter only one essay. All submissions are due electronically (as a PDF or Microsoft Word document) by 18 September 2023.
The winner of the award will be announced during the 2023 edition of the Pordenone Giornate del cinema muto festival in October. The award consists of a monetary prize (USD 500) and assistance in obtaining publication of the winning essay in a professional film historical journal. Please send your submission to the Domitor Student Essay Committee: email@example.com.
Prix de l’Essai étudiant Domitor 2023
Le Prix de l’Essai étudiant Domitor est un concours annuel destiné à stimuler la recherche sur le cinéma des premiers temps, de même qu’à réduire le fossé qui sépare les chercheurs établis de la relève en incitant les jeunes chercheurs et archivistes à prendre part aux activités de notre association. Il est primordial pour l’avenir de la recherche sur le cinéma des premiers temps que les jeunes historiens, théoriciens et archivistes présentent leurs travaux et puissent entamer un dialogue avec les spécialistes de la discipline.
Si nous pensons que la période couverte par le cinéma des premiers temps s’étend globalement de la fin des années 1880 à 1915, nous réalisons que le cinéma s’est développé de manière inégale sur la scène mondiale. C’est pourquoi nous prendrons en considération les propositions concernant des pays et territoires où les pratiques du cinéma des premiers temps sont restées d’actualité au-delà de 1915. De la même façon, nous examinerons avec intérêt les propositions concernant l’histoire ou le statut actuel du cinéma des premiers temps dans l’historiographie, les textes théoriques ou les archives.
Les textes peuvent être rédigés en anglais ou en français et ne doivent pas dépasser 7 000 mots. Les participants doivent être inscrits dans un programme d’études supérieures au moment de leur soumission ou bien avoir reçu leur diplôme au plus tôt en janvier 2023. Il est possible de présenter un texte rédigé dans le cadre d’un cours. Néanmoins, le participant garantit à l’association qu’il est l’auteur du texte présenté et que celui-ci n’a pas été publié ou n’est pas en voie en de publication. Un seul texte est admis par participant. Les textes doivent être envoyés dans une version électronique (format pdf ou MS Word) avant le 18 septembre 2023.
L’essai gagnant sera annoncé en octobre 2023 pendant le festival Giornate del cinema muto de Pordenone. La personne dont l’essai aura été choisi recevra 500 USD et le soutien de Domitor avec la publication de son essai dans une revue scientifique dédiée à l’histoire du cinéma.
Merci d’envoyer vos essais au comité du prix étudiant Domitor : firstname.lastname@example.org.
ISLANDS AND AUDIOVISUAL MEDIA
University of the Faroe Islands, Tórshavn – June 17-19 2024
Held in collaboration with SICRI (the Small Island Cultures Research Initiative) and Shima journal
Islands have been extensively represented in cinema, television and various forms of video. Local community film and video productions and documentaries by outside producers have often looked at the minutiae of island life and the nuances of living on islands. There is also the expedition genre, representing journeys to islands (with the outsider’s impressions as the key topic). YouTube has many examples of personal travel videos. Many fictional and documentary productions have utilised familiar tropes of island paradises and their opposite, island ‘hells’ – places of confinement, menace and despair. Island paradises have been the subject of comedy and romance whereas hellish islands have been featured in genres such as horror, action and SciFi. Reality television has also drawn on these paradigms and a number of music videos have also represented islands in various ways.
Proposals from researchers from any Humanities field are invited that address one or more of the following topics:
- The representation of actual islands in one or multiple audiovisual texts
- The representation of fictional islands in one or multiple audiovisual texts
- The representation of islands in particular genres and/or national cinemas
- The relationship of island-themed audiovisual productions to broader social political factors and histories
- Gender issues in island themed audiovisual productions
- Colonial and postcolonial discourses in island-themed audiovisual productions
- Island community media productions and/or organisations
- Ethnographic approaches to island themed audiovisual productions
- Reconstructions of historical island life in audiovisual productions
- Issues of film/video style with regard to representations of islands
Proposals (300-400 words long) should be sent to Dr Firouz Gaini FirouzG@setur.fo and Dr Philip Hayward email@example.com
An early acceptance program is in place, for those wishing to apply for travel funding. All proposals received by August 20th 2023 will be considered and replied to by September 21st 2023. Final deadline for submissions of proposals will be January 30th 2024.
NB cheaper accommodation in Torshavn tends to book out early, so the earliest possible submission of proposals is advised.
There will be a special issue of Shima on the topic of Islands and Audiovisual media published in late 2024. Conference delegates are invited to submit extended versions of their accepted papers for consideration for publication by August 1st (absolute latest) and may submit these prior to the conference for online publication in advance of the special issue (at the editor’s discretion) – contact Dr Philip Hayward at firstname.lastname@example.org for further information.
CFP: Global Bond Girls – The Impact of a Complex Cultural Icon
CFP: Global Bond Girls – The Impact of a Complex Cultural Icon
Edited by: Lisa Funnell and Monica Germanà
As one of the world’s most popular cultural icons, James Bond has captured the imagination of viewers around the world with his licence to kill, death-defying missions, innovative gadgets, tricked out cars, impeccable style, and refined tastes (see Funnell and Dodds 2023). Arguably, the popular appeal of James Bond has been most strongly shaped by his encounters with women – heroic and villainous alike – who have helped to define the heroic identity and libidinal masculinity of the titular figure. Across 60 years, the cinematic “Bond Girl” has become a popular culture icon in her own right and a figure synonymous with femininity in spy culture.
The term “Bond Girl” has been widely used by scholars, critics, and fans in reference to nearly every woman that Bond encounters in the course of his mission, occasionally including Miss Moneypenny and even M. This umbrella term yokes together a range of women who serve a variety of narrative purposes as protagonists and antagonists, primary characters and secondary figures, women with names and those who remain anonymous, women who are fully visualized and those who appear in fragments in the opening credits. While the term would appear to pigeon-hole a varied range of characters, the recent critical success of Michelle Yeoh who starred in Tomorrow Never Dies (1997) has, on the other hand, raised questions on the lack of racial and ethnic diversity in leading roles across many films including James Bond. As a result, the term Bond Girl encapsulates a complex series of representational practices, the confluence of which has often resulted in sweeping generalizations about the depiction of women in the franchise and unnuanced readings of gender throughout the film franchise.
Indeed, there is, arguably, no more loaded term in the Bond canon, and its critical reception, than “Bond Girl”. The term has recently been critiqued for infantilizing professional women by juxtaposing their “girlhood” with Bond’s “manhood” and thereby reducing their narrative importance and psychological complexity. Furthermore, the term would appear to essentialize women because of their implied dependence on and belonging to Bond (as his girls) without standalone identities of their own. Recently, some of the actors including Monica Bellucci, who, at 51 was the oldest woman to have played the role of one Bond’s “love” interests in Spectre (2015), have refused to be identified by the term, which was, reportedly banned on the set of No Time To Die (2021).
On the other hand, other actors have ‘capitalised’ on and even promoted the status of “Bond Girls”. Maryam D’Abo, who played the role of Kara Milovy in The Living Daylights (1987), co-wrote with John Cork Bond Girls Are Forever (2003), an illustrated book which followed up a documentary with the same title, (2002 and 2006); interviewed by D’Abo for the documentary, Rosamund Pike, who played Bond Girl-villain Miranda Frost in Die Another Day (2002), claims that “Bond Girl” is “more fun” and preferable, in its playfulness, to “Bond Woman” (D’Abo  2006). Naomie Harris, who has taken the role of Eve Moneypenny since Skyfall (2012), whilst aware of the clichés the “Bond Girl” tag comes with, has shown no critical resistance to the term per se, and but has acknowledged the roles are “not really stereotypes anymore, they can be anything” (qtd. in Rothman 2012). While the “Bond-Girl brand” runs the risk of perpetuating some of the problematic gender issues the Bond narratives bring to the forefront, the emergence of more complex roles in the most recent films, and the critical re-reassessment of the earlier films, has also led some critics to reclaim the term in feminist readings of the Bond canon (Germanà 2019).
In light of these challenges or even in spite of them, the Bond Girl has been highly influential in defining femininity in spy culture and other cultural texts. This influence extends beyond the medium of film to include a range of cultural products as well as regions. Indeed, alongside the heated debates she has engendered, the “Bond Girl” has, arguably, also helped to shape cultural representations, performances, and definitions of femininity around the globe. As the rich diversity of these responses remains largely unexplored, our collection, Global Bond Girls, seeks to investigate the expansive nature and global impact of this complex cultural icon.
In particular, the collection centers on three overarching questions:
1 – Representation – How are women depicted across official texts in the franchise including Ian Fleming’s novels, the James Bond films, and licensed comic books, among others?
2 – Rearticulation – How are facets of the Bond Girl archetype transposed onto other cinematic women through the casting of their actors in subsequent roles?
3 – Reinvention – How has the Bond Girl been (re)imagined and transplanted into different cultural texts worldwide and to what end?
We are currently seeking essays for our multidisciplinary collection Global Bond Girls that expand upon the current body of scholarly and critical works. Additionally, we are interested in including a variety of scholarly and critical voices from around the world to be featured in this multimodal research collection.
We encourage proposals on a range of topics that include but are not limited to:
- intersectional representation of Bond Girls in licensed texts: novels, films, comics
- race politics and Bond Girls
- ‘foreign’ actors and ‘exotic’ femininity
- censorship and Bond Girls
- reception of Bond girls in non-anglophone countries
- other films starring an actor after she played a Bond Girl
- influence on spy culture è films, television, literature, comics
- depiction of “Bond Girl” inspired women in animation, comics, anime, manga
- products aimed at children
- spoofs and parodies
- advertising and the marketing of consumer products
Please submit a 250 word abstract along with a CV to email@example.com by September 1, 2023. Please direct any questions or inquiries to this email as well.
CFP Cinematic Ecosystems: Screen Encounters with More-than-Human Worlds
Call for Book Chapters: Cinematic Ecosystems: Screen Encounters with More-than-Human Worlds
Editors Mary Hegedus and Jessica Mulvogue invite book chapter proposals for a scholarly collection entitled Cinematic Ecosystems: Screen Encounters with More-than-human Worlds, to be published by Vernon Press.
The current global eco-emergency demands a rethinking and reimagining of environments and human beings’ relationship to and within more-than-human worlds. The subject of the nonhuman has been central to scholarship in the field of ecocinema studies. Anat Pick and Guinevere Narraway’s Screening Nature: Cinema Beyond the Human (2013), Elena Past’s Italian Ecocinema: Beyond the Human (2019), Cajetan Iheka’s African Ecomedia (2021), James Cahill’s Zoological Surrealism: The Nonhuman Cinema of Jean Painlevé (2019), Jennifer Fay’s Inhospitable World: Cinema in the time of the Anthropocene (2018), and Hunter Vaughan’s Hollywood’s Dirtiest Secret: The Hidden Environmental Costs of the Movies (2019) are just a few examples of work that approaches cinema from an ecological perspective to consider how cinema expresses the “interconnectedness of human and other life forms [and] our implication in and filtering through material networks that enable and bind us” (Pick and Narraway 2013: 5).
This book builds on such scholarship but aims to home in on the concept of the ecosystem as a specific, situated biological system – involving interactions between soil, atmosphere, water and living organisms – that is crucial to understanding and coping in the era of ecological catastrophe. Studies of mycological interrelationships, interspecies kinship, and plant sentience (Anna Lowenhaupt Tsing 2015; Donna Haraway 2006 & 2017; Carla Hustak and Natasha Myers 2012) as well as ecocritiques of cinema itself (Sean Cubitt 2020) reveal the politico-ethical need to recognize the wide and varied scope of interspecies connectivities. Cinema, as a time-based medium, has both a distinctive ability to reveal the world and an imaginative, experimental capacity to create new worlds. Our affective relations with the aesthetic perceptual ecology of screen images (Adrian Ivakhiv 2013) helps evolve and deepen our understanding of worlds rich in connection and possibility. Furthermore our affiliations with these projected ecosystems shape our reality and influence our positions as humans in a more-than-human world (Nicole Seymour 2018).
We aim to bring together explorations of ecosystems across cinema and media genres. Cinematic ecosystems may appear as background in narrative fiction (eg. the Pacific Northwest temperate rainforest in Patricia Rozema’s Into the Forest (2015)); as the central subject of a documentary (eg. Sable Island in Jacqueline Mills’ Geographies of Solitude, 2022); or be the study of a scientific film. They may also be imaginative and speculative, such as the biological interactions in Momoko Seto’s Planet series (2008-17) or speculative futures in Danis Goulet’s Night Raiders (2020).
Cinema, as a material process and object, is also implicated in these ecologies. As such, the collection recognizes the material relationships between cinematic processes and more-than-humans on screen and beyond. We are thus also interested in both case studies of cinematic interference with ecosystems and the ways in which filmmakers and artists work with and alongside biological matter, for instance, in hand-processed or plant processed experimental cinema.
The question of knowing – as both rational thought and sensory perception – is central to our inquiry: we aim to explore what ecosystems on screen – real or imagined – may teach us about interrelations with a more-than-human world, about kinship and care, as well as about competition and conflict (as Lorraine Code argues ecosystems are as cruel as they are kind (2006)). To recognize the extent of interrelationships in the more-than-human world is to move beyond human exceptionalism towards potentially more just and sustainable modes of cohabitation with nonhumans. It is also to acknowledge that worlds exist beyond the human that are unreachable and unknowable.
Our guiding questions for this collection are: How does cinema and media work to articulate ecosystems and what are the epistemological, material, and politico-ethical implications of such articulations? And how can cinema and media aid us in coming to know more-than-human worlds and what are the limits of such inquiries?
We are interested in studies of cinematic ecosystems – ie. environments on screen: plants, animals, funga, sealife, microbial life – from a wide variety of media perspectives and issues, including, but not limited to:
- Cli-fi; climate change media
- Feminist and/or Indigenous epistemologies
- BIPOC, Queer, non-binary ecologies
- Orphaned and archival footage
- Media technologies: Drone, micro/macro, time lapse, virtual reality, augmented reality, sound, artificial intelligence
- Perceptual experiences of cinematic environments, perceptual ecologies
- Media materialities
- Interspecies kinship / matters of care / posthumanism / relational ethics
- Scientific images: micro/macroscopic, timelapse, geological, biological, zoological, etc.
- Environmental effects of prosperity vs precarity; sacrifice zones
- Anthropomorphic, biomorphic and geomorphic instantiations of worlds
- Anthropocene, Chthulucene, Capitalocene, Plantationocene, Planthropocene
- Explorations of Uexkull’s Umwelt
We welcome both individual and co-authored pieces for articles of 6000 words. Please submit your 500-word proposal and a short author bio to Mary Hegedus and Jessica Mulvogue via email at firstname.lastname@example.org and email@example.com Proposal Deadline June 30th 2023
Proposal Deadline: June 30th 2023
Acceptance/Non-acceptance notice: end of July 2023
Article submission deadline: January 15th 2024 (articles will undergo peer review)
CALL FOR PARTICIPANTS: I’ll Sleep When I’m Undead: Sleep in Contemporary Horror Media
CALL FOR PARTICIPANTS
I’ll Sleep When I’m Undead: Sleep in Contemporary Horror Media
July 2-7, 2023 in Montreal
DEADLINE March 31, 2023
CORERISC: the Collective for Research on Epistemologies of Embodied Risk, and The Sociability of Sleep seek participants for a week-long writing workshop (July 2-7, 2023) centered on sleep in 21st century horror media. We aim to explore how horror media–from films to television to social media–responds to the conditions of sleep as a site of embodied risk today.
Sleep today is said to be in crisis. Sleep is under threat by our 24/7 (Crary 2013) lifestyles; by demands of availability generated by social media, the internet and the always-on of media themselves; by the blue light of media screens, and the somatic reset of social media addictions; and by the crisis cycle of the contemporary news media. Sleep scientists are increasingly attending to longstanding inequities of access to “good sleep”, unevenly distributed across the fracture lines of social inclusion, and reflecting the environmental and cultural impact of insecure sleep conditions, including excess noise and illumination, rising temperatures under climate change, vulnerability to assault, an increasing demands to be available for work or care. These and other anxieties around sleep as a site of embodied risk are found across the spectrum of 21st century horror media.
Beyond dreams and nightmares, sleep itself has a complex history in horror media, in the remix of cinemas as a dream machine to a rich visual and aural language for altered states that blur the line between waking life and nightmare. While our focus is on 21st century media, we also seek work that puts today’s bad sleepers in dialogue with the past of sleep-horror media. Our premise is this: sleep is in essence a risky business. Sleep is often seen as generating precarious situations, and sleep itself is understood as a site of risk, vulnerability, and loss of control and agency. Sleep’s horror affects enervate the sharp edges of conventional horror, its eruptive distinctions between normal and deviant, raising complex questions of creepy agency, resistance, dispossession and vulnerability. Horror sleep media explores rest as a space of work, the site of the relentless extraction of the body’s capacities and biopolitical management, through monitoring and modulation, or in other cases the only territory in which the complexities and dangers of life today can be navigated as a new site of survival. Rather than naming a novel state of affairs, feminist, queer, and racialized sleep horror understands sleep not as a break in the fabric of reality that allows a horrific otherworldliness to emerge, but as the condition of the exhausting conditions of everyday life. Part of the horror in the contemporary wave of sleep horror media is that the waking/ dreaming binary is displaced by the grey zone of somatic capitalism, where even off-hours are occupied by apps that track, quantify and assess us while we sleep, for purposes not our own. How does 21st century media figure the dispossessive risks of sleep?
This weeklong writing workshop is a collaboration between the Sociability of Sleep interdisciplinary research-creation project and CORÉRISC as part of the series “Altered States: The Social Lives of Sleep”. We seek four to five participants for a week-long writing workshop in Montreal in the context of the Sociability of Sleep’s summer exhibition InSomnolence (June 20-July 13, 2023). Participants will arrive on Sunday. Monday through Friday will be dedicated to collaborative and individual writing sessions, working towards the publication of an edited collection. As such, we plan to work both with individual chapters, and also to collectively shape the conversation about sleep in contemporary horror. Each day will include two short public talks from participants about their emergent research in sleep horror along with writing workshops and end-of-day check-ins. In keeping with the spirit of the workshop as a generative space, the week’s events will include several activities meant to inspire discussion. The Montreal Monstrum Society will co-host a public screening of a sleep horror film; participants will be encouraged to suggest material to screen and discuss; there will be a workshop on public scholarship on popular media; and there is the possibility of creating a podcast focusing on the sleep media that we watch and discuss together.
We seek proposals from workshop participants on topics such as:
- Sleep and Genre (horror, noir, fantastique, dark fantasy)
- Sleep and Media (cinema, television, short-form, social media)
- Poetics of Sleep Horror (form, tone, atmosphere, style, mode)
- Horror studies and sleep
- Sleep and Experimental Horror
- Sleep Horror as/and Ecology
- Sleep Horror and Technology
- Sleep Horror and Creep (climate creep, deep/geological time, scale)
- Somnolent affects: sleep and spectators
- (Sleep) media as a source of horror and risk
- Too much, too little: sleep out of scale
- Earlids and Eyelids: The Bleed of Sleep
- Sleep Horror and Crisis, Disruption, Disorder
- Lost sleep: insomnia and other absences (as awareness, as problematic/symptom)
- Sleep Horror and Labour
- Retrovision: 21st century sleep horror frameworks recalling earlier media forms
- Sleep and/in Horror Studies (concept, content, figuration)
Proposals should include:
- a one-page description of your potential chapter: topic, approach and media (300-400 words)
- a short bio (150 words)
We welcome submissions from emerging scholars and contingent faculty, as well as from researchers from underrepresented perspectives in horror studies. There is funding available to support the participation of scholars, prioritizing those without access to institutional support. The workshop will take place in person in Montreal. If for you, travel to Montreal is not a possibility but you wish to take part in the entire workshop, please indicate this in your application and we will find accommodation for remote participation.
Proposals can be sent to firstname.lastname@example.org, with the subject line “Undead Sleep Submissions”. Deadline is March 31, 2023. “I’ll Sleep When I’m Undead” is organized by CORÉRISC members Lynn Kozak, Alanna Thain and Kristopher Woofter, in collaboration with The Sociability of Sleep and is part of “Altered States: The Social Lives of Sleep”, with support from the Fonds de recherche du Québec – Société et culture and the Social Sciences and Humanities Research Council of Canada.
“Platforms and uses: cinema, television, video games and digital creation”
Université de Montréal – 2-3 November 2023
****voir plus bas pour la version française****
“The profusion that the Internet and digital technology have introduced into the circulation of images no longer makes it possible to choose between appropriation and sharing; on the contrary, it confuses them […]” (Chollet, 2022: 38-40).
Platforms are not empty shells, mere digital media allowing the expression of all and sundry: they reconfigure our modalities of content apprehension. In this colloquium, we propose to explore this tension between appropriation and sharing.
The first conference “Networking Images – Approches interdisciplinaires des images en réseaux” took place in 2011 at the Sorbonne-Nouvelle University. A little more than a decade later, we propose to revisit the subject of networked images in the light of its technical, social and academic evolutions during an international colloquium entitled “Platforms and uses: cinema, television, video games and digital creation”. This symposium, jointly organized by the University of Montreal and the Sorbonne-Nouvelle University, will take place at the University of Montreal on November 2 and 3, 2023.
See the attachment for a full description of the project.
We ask you to send your proposals written in French or English to email@example.com by 29 April 2023. Answers will be given at the beginning of June.
Several modalities of intervention are possible:
- An oral communication of about twenty minutes.
- A poster.
- Some exchanges may take place outside the conference and will take the form of radio broadcasts produced with CISM before the event.
- The presentation of research/creative work is welcome and may be accompanied by participation in the exhibition at the Carrefour des arts et des sciences de l’Université de Montréal that will accompany the conference.
Proposals should include the following elements:
- Title of the proposal
- Summary of the proposal: 1,500 characters maximum, including spaces (approximately 200 words)
- Specifying: Name of the author(s), institution(s) to which the proposal belongs.
- Angle in which the paper is to be presented
- Preferred method of communication
Event organized with the support of Labo Télé, GRAFIM, CinEXmedia Partnership, CRIHN, Labex ICCA, CIM, IRMECCEN and IRCAV.
Organizing committee: Christine Bernier, Vincent Bilem, Florian Body, Marta Boni, Joyce Cimper, Barbara Laborde, Joa Neves, Guillaume Soulez, and Zaira Zarza.
Scientific committee: Laurence Allard, Dominic Arsenault, Marie-France Chambat-Houillon, Franck Rebillard, Carl Therrien.
« Plateformes et usages : cinéma, télévision, jeu vidéo et création numérique »
« La profusion qu’Internet et le numérique ont introduite dans la circulation des images permet de ne plus choisir entre l’appropriation et le partage; au contraire, elle les confond […] » (Chollet, 2022 : 38-40).
Les plateformes ne sont pas des coquilles vides, de simples supports numériques permettant l’expression de toutes et de tous : elles reconfigurent nos modalités d’appréhension des contenus. Dans le présent colloque, nous proposons d’explorer cette tension entre appropriation et partage.
Le premier colloque « Networking Images – Approches interdisciplinaires des images en réseaux » a eu lieu en 2011 à la Sorbonne-Nouvelle. Un peu plus d’une décennie plus tard, nous proposons de revisiter le sujet des images en réseaux à la lumière de ses évolutions techniques, sociales et académiques lors d’un colloque international intitulé « Plateformes et usages : cinéma, télévision, jeu vidéo et création numérique ». Ce colloque organisé conjointement par l’Université de Montréal et l’Université Sorbonne-Nouvelle aura lieu à l’Université de Montréal les 2 et 3 novembre 2023.
Voir pièce jointe pour les détails.
Nous vous demandons d’envoyer vos propositions rédigées en français ou en anglais à l’adresse firstname.lastname@example.org pour le 29 avril 2023. Les réponses seront données au début du mois de juin.
Plusieurs modalités d’interventions sont envisageables :
- Une communication orale d’une vingtaine de minutes.
- Un poster.
- Certains échanges pourront avoir lieu en dehors du colloque et prendront la forme d’émissions de radio produites avec CISM, avant l’événement.
- La présentation de travaux en recherche/création est bienvenue et pourra s’accompagner d’une participation à l’exposition au Carrefour des arts et des sciences de l’Université de Montréal qui accompagnera le colloque.
Les propositions devront comporter les éléments suivants :
- Titre de la proposition
- Résumé de la proposition : 1 500 caractères maximum, espaces compris (environ 200 mots)
- Précisant : Nom de(s) auteur(s)/autrice(s), institution(s) de rattachement.
- Axe dans lequel s’inscrit la communication
- Modalité de communication préférée
Évènement organisé avec le soutien du Labo Télé, du GRAFIM, du Partenariat CinEXmedia, du CRIHN, du Labex ICCA, du CIM, de l’IRMECCEN et de l’IRCAV.
Comité organisateur : Christine Bernier, Vincent Bilem, Florian Body, Marta Boni, Joyce Cimper, Barbara Laborde, Joa Neves, Guillaume Soulez, et Zaira Zarza.
Comité scientifique : Laurence Allard, Dominic Arsenault, Marie-France Chambat-Houillon, Franck Rebillard, Carl Therrien.
Call for Proposals: SFU CMNS Interdisciplinary Grad Conference
The graduate program at Simon Fraser University’s School of Communication annual CONDUITS conference invites scholars to think through our 2023 theme of Ex:tension.
Extension, the act of lengthening, is a dynamic movement, and Marshall McLuhan suggests that the use of media as a tool is a mutual shaping process: elongation shapes the direction and understanding of that medium, and in turn, the use of media to extend shapes how we make sense of the world.
Since its publication in 1964, McLuhan’s theory of extension has been subject to critique in both scholarly and non-scholarly work. Scholars have suggested such conceptualization as being too deterministic (Postman, 1985; Carey, 1989; Williams, 1990; Poster, 2010), limited in scope (Murray, 1997; Bolter and Grusin, 1999; Hayles, 1999), reductive (Williams, 1974; Debrays, 1996; boyd, 2014), insular and narrow-minded (Rushloff, 2013; Kittler, 2002), optimistic (Carr, 2010; Lanier, 2010), and inattentive to dimensions of power and control (Dean, 2010; Lovnik, 2011; Turkle, 2011; Noble, 2018).
More recent interventions have emphasized that McLuhanian extension is both singular and universalizing. It is not all bodies being extended, but rather one very specific body, resulting in a theory that doesn’t meaningfully consider the ways media and technology structure contemporary experiences of race, gender, sexuality, and class (Sharma, 2017; 2022). Rather than entirely disregard McLuhan, these interventions suggest that we instead think about his work as a springboard to explore the more generative dimensions and understandings woven into extension.
Drawing upon the idea that McLuhanian extension doesn’t account “for everything and everyone” and is “up for grabs” (Sharma, 2022, p. 180), the theme of Ex:tension encourages emergent and contemporary understandings, reworkings, expansions, complications, deepenings, remixes, resistances, and refusals of what technological and mediated extension is, was, and can be. We also invite work that considers the gaps, fractures, and slippages along extended lines, as well as explorations of liminal spaces that negotiate the boundaries of mediated and technological extension.
Submissions that engage with the theme of Ex:tension might include, but are not limited to the following:
- Feminist, environmental, Indigenous, queer, critical race, intersectional, and/or interdisciplinary theories and approaches that illuminate and animate contemporary forms of mediated and technological extension
- Over/extensions of state or corporate power and/or the corresponding contestations of that power
- Studies of social movements such as the Woman, Life, Freedom uprising, Extinction Rebellion, and Indigenous Rising
- Considerations and practices of futurisms and radical imaginaries through creative communication
- Case studies of intertextual extension and immersion into/of emerging media technologies
- Extractivist and neo-colonial ideologies of overextension in environmental and data studies
- Reflections on mediated and technological formations of compassion and care
- Digital in/visibility and the positioning of migrants in liminal space through questions of identity, representation, sovereignty, voice, and subjectivity
- Political economic analyses of creative and technological industries, platforms, and labour dimensions
Popular culture as extension of pedagogy, informal learning, and entertainment as education
The CONDUITS organizing committee values the interdisciplinary nature of the graduate program at the School of Communication at SFU, and as such, we welcome submissions from a wide variety of academic backgrounds. Past presenters at CONDUITS have come from a wide range of different fields and disciplines, including media studies, film production, geography and urban studies, environmental sciences, computer sciences, anthropology, gender studies, sociology, and political science.
Maria Sommers (she/her)
MA Student | School of Communication
Researcher | Digital Democracies Institute
Simon Fraser University
Call for Submissions: PLASTIC, tba journal of art, media, and visual culture
Call for Submissions: PLASTIC
tba: Journal of Art, Media, and Visual Culture, is pleased to announce that we are accepting submissions for our upcoming issue, PLASTIC. tba is an annual peer-reviewed journal organized by graduate students of the Visual Arts Department at Western University in London, Ontario (CA). It provides an interdisciplinary forum for emerging and independent artists and scholars by bringing together studio, art history, cultural studies, theory and criticism, creative writing, and related fields. Academic articles, poetry, short fiction, and artworks are welcome. Experimentation and risk is encouraged.
Topics can include, but are not limited to:
- Pliability, malleability, plasticity
- Artistic and curatorial materials, les arts en plastiques
- Materialisms, historical materialism, new materialism
- Microplastics, plastics pollution
- Pollution as colonialism
- The globalization of plastics, petrocapitalism
- Toxicity, toxic ecologies, climate crisis
- Health and plastics – biology and technology
- Anthropocene, plastics in the geologic record
- Aesthetics of plastic, plastic surgery
- The synthetic, the ersatz, and authenticity
- History of plastics, plastics futurity
To be plastic is to be pliable, moldable, and adaptable to change. It is both a material quality and a conceptual one–plasticity was a commonly used word in the arts, applied to discussions of artist materials like paint and clay but also to techniques and gestures. Today, plastic refers to a diverse array of polymer and monomer combinations mainly derived from oil that have come to replace more expensive applications of natural resins, rubbers, and shellacs, as well as metals, glass, wood, and fibers like cotton and wool. Plastic has become so ubiquitous a material it’s impossible to imagine contemporary life without it. But what we recognize as plastic today isn’t nearly as pliable as the original word implies. Commercial plastics are not designed for durability, but rather for expediency. They crack and crumble into forever smaller pieces, bioaccumulating at the molecular level into all manner of life. Perhaps a redefinition of the term is in order: to be plastic is to be omnipresent, insidious, and even toxic. But not everything about plastic is bad. Plastics have become a necessity for administering vaccines, for providing clean drinking water to remote communities, offering temporary emergency shelters and preserving the shelf life of foods that would otherwise go to waste. For better or for worse, it would seem that plastic is here to stay.
We invite you to submit your work by May 21, 2023. Submissions must be completed through the journal’s website, which uses OJS software to ensure contributer/reviewer anonymity. Emailed submissions will not be accepted. If you’re interested in supporting the review process, we are currently seeking peer reviewers–we welcome you to get in touch at email@example.com with your CV and research area(s).
Emily Cadotte, Editor
Ana Moyer, Associate Editor, Art History
Imogen Clendinning, Associate Editor, Studio
For inquiries, please write firstname.lastname@example.org
Call For Papers: 2023 CMF Graduate Student Conference
The University of Calgary’s Department of Communication, Media and Film (CMF) presents
r/evolution in Media(Scapes): A CMF Graduate Student Conference
Conference dates: Wednesday, May 10th to Thursday, May 11th , 2023
Conference location: Online via Zoom
Potential in-person events: Afternoon on Thursday, May 11 th
We are pleased to announce that this year’s CMF Graduate Student Conference theme is r/evolution in Media(Scapes). The concept of Revolution, once a powerful force for change, has become less striking recently, it’s Evolutionary potential growing muddled. The power of Revolution in the critical lexicon has diminished because of society’s growing fragmentation and polarization. By deconstructing established notions of Revolution and reforming our approach to transforming Mediated landscapes via creativity and innovation, we hope our theme will help build new avenues for thought and action.
- Why r/evolution
We seek to reform contemporary perspectives and redefine Revolution as an Evolutionary process – as a ludic and imaginative space where we are all invited to partake in novel, unprecedented, and sometimes messy ways.
- Why Media(Scapes)?
The study of Media(Scapes) examines the complex relationships between technology, culture, and politics by exploring creative and transformative ways of using media to shape and reshape social and cultural landscapes.
Our theme, r/evolution in Media(Scapes), encourages all scholars to actively challenge traditional norms and re-envision social, political, cultural, and mediatized landscapes using innovative and reformative approaches.
Call For Papers
This is a Call For Papers (CFP) for the 2023 CMF Graduate Student Conference. Please, submit your proposals here. The proposal submission deadline is 11:59 pm MT on March 31st, 2023.
Some of the research topics you may wish to present on for this year’s Conference include:
- Cinema, documentary, photography, and sound
- Community, society, and culture
- Embodiment and subjectivities in media
- Emerging media and technologies (artificial intelligence, data centres, telecom, etc.)
- Media, social movements, and activism
- New media industries (social media platforms, etc.)
- Representation and power in media
- Theories and practices
The above list is not exhaustive and merely includes some of the topics you may wish to present on for this year’s Conference. We welcome submissions from the many different research backgrounds that fall under our theme, even if they do not directly address one of the topics listed here.
We welcome any proposal submissions for the following three presentation formats:
- Short talks (200-word abstract): A shorter presentation, five to seven minutes in duration, followed by a Q&A session. An ideal choice for any presenter wishing to share and discuss an idea or research-in-progress. First-time presenters, MA students, and senior undergraduates are encouraged to apply.
- Long talks (300-word abstract): A longer presentation, 10 to 15 minutes in duration, followed by a Q&A session. An ideal choice for any presenter wishing to share and discuss an in-depth and developed analysis of their research topic.
- Alternative format (250-word abstract): We welcome proposals for alternative formats, 10-15 minutes in duration, to be followed by a Q&A session. When proposing an alternative format, please include a description of your chosen format (i.e., interactive session, multi-speaker panel, etc.) in your 250-word abstract proposal. While we cannot guarantee that we will be able to accommodate your alternative format, we will try our best to do so.
All applicants are asked to consider an equity, diversity, inclusion, and accessibility (EDIA) framework in their proposal submission and will be prompted to complete the EDIA pledge as part of their proposal submission.
Click here to access the form to submit your proposal and here for our Conference website. We will alert all applicants regarding the status of their submissions by mid-April. A full conference schedule and Keynote speaker announcements will occur closer to the Conference date.
If you have any questions about this CFP, please contact Matthew Halajian (email@example.com) or
Liz McIver (firstname.lastname@example.org.
Thank you in advance, and we look forward to your submissions!
This Conference is being held online via Zoom to encourage participation from those unable to attend in person. Organizing any optional in-person social events in Calgary will be confirmed at a later date and communicated to the conference participants.
We would like to take this opportunity to acknowledge the traditional territories of the people of the Treaty 7 region in Southern Alberta, which includes the Blackfoot Confederacy (comprising the Siksika, Piikani, and Kainai First Nations), as well as the Tsuut’ina First Nation, and the Stoney Nakoda (including the Chiniki, Bearspaw, and Wesley First Nations). The city of Calgary is also home to Métis Nation of Alberta, Region 3.
CFP: Colloque international « Jean-Marc Vallée : du Québec à Hollywood »
APPEL À COMMUNICATIONS : Colloque international « Jean-Marc Vallée : du Québec à Hollywood »
Cinémathèque québécoise (Montréal), 8 et 9 juin 2023
Le 25 décembre 2021, Jean-Marc Vallée nous quittait prématurément à l’âge de 58 ans. Titulaire d’un diplôme en études cinématographiques émis en 1986 par l’Université de Montréal, Jean-Marc Vallée a reçu de manière posthume, lors d’une cérémonie de collation des grades qui s’est tenue en août 2022, l’Insigne du mérite de la Faculté des arts et des sciences de cette université. Cet honneur témoigne de l’excellence, québécoise dans un premier temps, et internationale dans un second, de son parcours.
C’est d’abord le retentissement francophone de films comme C.R.A.Z.Y. (2005) ou Café de Flore (2011) qui le consacre comme l’un des talents québécois les plus en vue; puis les succès de Dallas Buyers Club (2013), Wild (2014) et Demolition (2015) l’installent comme l’un des metteurs en scène les plus convoités du cinéma nord-américain d’auteur. La production sérielle, qui tient désormais une place prépondérante au sein de l’industrie audiovisuelle via le développement des plateformes numériques et l’influence du récit feuilletonnant à travers le médium télévisuel et le médium cinématographique, est également un domaine où se démarque le cinéaste québécois : ses séries Sharp Objects (2018) et Big Little Lies (2017-2019) ont rencontré un grand succès populaire.
Réalisateur, scénariste ainsi que producteur de cinéma et de télévision, Vallée se présente comme l’un des artistes les plus féconds d’une nouvelle vague de cinéastes qui participent au rayonnement international de l’art québécois. Le triomphe critique et commercial des œuvres de Vallée le place également, avec quelques autres, comme l’un des fers de lance d’une génération d’artistes de la Belle province ayant conquis l’industrie hollywoodienne. Jean-Marc Vallée, Denis Villeneuve, Xavier Dolan et Philippe Falardeau sont en effet aujourd’hui régulièrement sollicités pour les projets intimistes, le cinéma de genre, le cinéma à grand spectacle ou la production sérielle d’Hollywood.
Le colloque international Jean-Marc Vallée : du Québec à Hollywood souhaite à la fois étudier l’œuvre cinématographique et télévisuelle de Vallée et réfléchir à cette tendance du cinéma québécois et de ses artistes à s’exporter à l’international, notamment en France et à Hollywood. L’événement s’adresse tant aux connaisseurs de l’œuvre de Jean-Marc Vallée qu’aux non-initiés qui s’intéresseraient néanmoins au renouveau du cinéma québécois et aux transferts interculturels entre le Québec, l’Europe et Hollywood. Par le prisme de l’œuvre de Vallée, ce colloque souhaite enfin susciter des réflexions au sujet de questions aujourd’hui essentielles en recherche et en création pour tous ceux et celles s’intéressant au cinéma
Nous invitons des propositions de communication individuelles qui explorent des thématiques propres à l’œuvre et au parcours de Jean-Marc Vallée. Les communications peuvent aborder les sujets suivants, sans toutefois s’y limiter :
- l’évolution de l’esthétique valléenne, des premiers courts métrages jusqu’aux séries télévisées;
- les thématiques structurantes de l’œuvre de Jean-Marc Vallée (par exemple celle des rôles féminins et de leur indépendance ; celle de la présence ou de l’absence de la figure du père ; celle de la complexité psychologique des personnages);
- l’intérêt croissant du cinéaste pour le média télévisuel et sériel;
- l’univers musical de l’œuvre cinématographique et télévisuelle de Jean-Marc Vallée (notamment l’importance du pop rock, du jazz ou du blues dans son œuvre) ou encore ses collaborations avec des compositeurs et compositrices de renom;
- sources d’inspiration, approches scénaristiques et conceptuelles en amont de la réalisation;
- l’étude de l’utilisation des effets visuels et les technologies numériques;
- les collaborations régulières qui constituent « l’univers Vallée »;
- la mise en scène et le rapport du cinéaste aux acteurs et aux actrices;
- l’inscription de Jean-Marc Vallée comme fer de lance du renouveau de la cinématographie québécoise des années 2000;
- la réception de son œuvre au Québec, en Europe et aux États-Unis;
- le modèle de travail hollywoodien (entre Montréal et Los Angeles) mis en place par Jean-Marc Vallée et ses équipes québécoises.
Les propositions de communication (maximum 500 mots), en français ou en anglais et accompagnées d’une courte notice biobliographique, devront être envoyées à l’adresse email@example.com d’ici le 20 avril. Les présentations acceptées seront d’une durée de 20 minutes.
Thomas Carrier-Lafleur, Baptiste Creps, André Gaudreault, Santiago Hidalgo, Bernard Perron et Isabelle Raynauld
Site web : https://colloquevallee.labocinemedias.ca/
CALL FOR PAPERS: International Conference: “Jean-Marc Vallée: From Quebec to Hollywood”
Cinémathèque québécoise (Montreal), June 8 and 9, 2023
On 25 December 2021, Jean-Marc Vallée left us prematurely at the age of 58. A graduate of the cinema studies program of the Université de Montréal in 1986, Jean-Marc Vallée received posthumously, during a degree conferral ceremony in August 2022, the Insigne du mérite award of the Faculté des arts et des sciences of that university. This honour demonstrates the excellence of his work initially in Quebec and then internationally.
First came the interest created in the French-speaking world by films such as C.R.A.Z.Y. (2005) and Café de Flore (2011), consecrating him as one of the most prominent Quebec filmmakers; the success of Dallas Buyers Club (2013), Wild (2014) and Demolition (2015) then established him as one of the most sought-after directors of North-American auteur cinema. The production of series, which now has a preponderant role in the audiovisual industry through the growth of digital platforms and the influence of serial narratives throughout television and cinema, was also a field in which Jean-Marc Vallée stood out: his series Sharp Objects (2018) and Big Little Lies (2017-19) met with great popular success.
As a director, scriptwriter and producer of film and television, Jean-Marc Vallée was one of the most productive artists of a new wave of filmmakers who have contributed to the international visibility of Quebec art. The critical and commercial triumph of his work also established him, along with a few others, as one of the spearheads of a generation of artists from the Belle province who have conquered Hollywood. In recent years Jean-Marc Vallée, Denis Villeneuve, Xavier Dolan and Philippe Falardeau have been sought out to work on intimist projects, genre films, big-budget productions and Hollywood series.
The international conference Jean-Marc Vallée: From Quebec to Hollywood seeks both to study Jean-Marc Vallée’s film and television oeuvre and to reflect on this trend which sees Quebec cinema and its artists being exported abroad, particularly to France and Hollywood. The event is also aimed at both connoisseurs of Vallée’s oeuvre and neophytes to his work who are nevertheless interested in the resurgence of Quebec cinema and in intercultural transfers between Quebec, Europe and Hollywood Through the prism of Vallée oeuvre, this conference seeks, finally, to prompt thinking about questions which today have become essential in research and creation for all those interested in Quebec cinema.
We invite proposals for individual presentations which explore topics specific to the work and career of Jean-Marc Vallée. Presentations can address the following topics, without being limited to them:
- the evolution of Vallée’s aesthetic, from the earliest short films to the television series;
- The structuring themes of Jean-Marc Vallée’s work (such as that of female characters and their independence; the presence or absence of a father figure; or the psychological complexity of the characters);
- Vallée’s growing interest in televised and serial media;
- the musical world of Jean-Marc Vallée’s film and television work (and in particular the importance of pop rock, jazz and blues in his work) or his collaborations with renowned composers;
- pre-production sources of inspiration and scriptwriting and conceptual approaches;
- study of Vallée’s use of visual effects and digital technologies;
- the regular collaborations which made up the “Vallée universe”;
- directing and Vallée’s relationships with actors and actresses;
- Jean-Marc Vallée’s status as spearhead of the resurgence of Quebec cinema in the 2000s;
- the reception of Vallée’s work in Quebec, Europe and the United States;
- the Hollywood working model put in place (in both Montreal and Los Angeles) by Jean-Marc Vallée and his Quebec film crews.
Presentation proposals of no more than 500 words in English or French, accompanied by a brief bio-bibliography, should be sent to firstname.lastname@example.org by 20 April. Presentations will be allotted 20 minutes.
Thomas Carrier-Lafleur, Baptiste Creps, André Gaudreault, Santiago Hidalgo, Bernard Perron and Isabelle Raynauld
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